It is heartbreaking to witness the centuries-old palaces in Iran, architectural and artistic marvels, being battered by the actions of the US and Israel. This destruction may not simply be collateral damage; it appears to be a deliberate effort to obliterate the country’s magnificent art history. A similar strategy was employed in Gaza, where cultural heritage was systematically erased. An occupying force often finds a population less threatening when stripped of cultural identity, as the most persistent threat that endures even when everything else is demolished is the collective memory, which cannot be eradicated by bombs.
Across the Persian Gulf, Qatar has emerged as a new hub for art fairs with the recent inauguration of an Art Basel satellite in Doha. However, queer Qataris like Nasser Mohamed are forced to leave the country to avoid imprisonment. In a poignant opinion piece this week, he criticizes the art world’s infatuation with Gulf autocracies, highlighting that it comes at the cost of his personal freedom.
The article also covers various topics, including Damien Davis’s critique of art awards, a feature on Baghdad-born Whitney Biennial artist Ali Eyal, recommendations for notable art books this month, a new installment of Beer With a Painter starring Hilary Harkness, and a small town in Texas that has transformed into a participatory art project.
Thank you for reading, and have a wonderful weekend.
—Hakim Bishara, editor-in-chief
